Troca-malas: estojo organizador azul escuro

Quando muda de mala, 

certifique-se de que leva todos os seus essenciais 

com a ajuda deste estojo organizador 

com fecho de correr, 

gancho para prender as chaves, 

bolsos por fora e por dentro, dos dois lados. 

Tudo organizado por 15 "bolsos"! 

Medidas: 17 cm x 23 cm x 7 cm (Altura x Comprimento x Largura)

Bolsos: altura 13.5 cm e largura variável: 3, 13, 18 cm, etc.

Refª: Troca-malas modelo pequeno em capulana floral azul escura.

Bolsos do lado de dentro e de fora

Gancho para prender as chaves
ou prender o estojo à mala de mão

Bolsos do lado de dentro e de fora

E porque este trabalho foi executado ao som de música africana, aqui têm um link para escutar: 

“Kodji Dala“ by Sally Nyolo & Djeli Moussa Diawara

African fabrics: the history of dutch wax prints by Eccentric Yoruba

"A picture of a pipe isn’t necessarily a pipe, an image of “African fabric” isn’t necessarily authentically [and wholly] African”.

These above words are quoted by Yinka Shonibare, a Nigerian-British contemporary artist known for his amazing artwork using African print fabrics in his scrutiny of colonialism and post-colonialism. What is commonly known as “African fabric” goes by a multitude of names: Dutch wax print, Real English Wax, Veritable Java Print, Guaranteed Dutch Java, Veritable Dutch Hollandais. I grew up calling them ankara and although they’ve always been a huge symbol of my Nigerian and African identity, I had no idea of the complex and culturally diverse history behind the very familiar fabrics until I discovered Yinka Shonibare and his art.

I know I personally felt shocked upon learning that the “African” fabrics I grew up loving and admiring were not really “African” in their origins (or is it?). This put things in perspective, however, as it suddenly made sense that my mother’s friends regularly travelled to European countries, including Switzerland and England, to purchase these fabrics and expensive laces to sell them again in Nigeria. In an attempt to join this lucrative business, my mother once dragged me with her to a fabric store while on holiday in London. I was not 13 years old then and I recall being surprised to find such familiar fabrics on sale outside Nigeria. Regardless, I never imagined that the history of this African fabric, henceforth referred to as Dutch wax print, spanned over centuries, across three continents and bridging various power structures.